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Comments
No, I haven't seen that one before but I heard of 3 or even 2 mic methods from an old geezer back at the jazz school in Milan. One reservation I have about Glyn's method would be that I like the hihat to be reasonably low in the mix as I think most of the time it is the hihat that makes a drum recording sound messy. It is hard to isolate it though. My latest test involved putting a condenser pointing at the snare from kick's side and that I thought worked well but it was in a little vulnerable position when the drummer plays the rim.
In the picture the mic looks a bit lower than it actually is and it is pointing towards the centre of the snare. The overhead is on drummers right and a dynamic just sits inside the bass drum at some 7-8 inches from the skin, the outer skin is off.
Edit: I haven't noticed any phase issues.
Back at the jazz school in Milan..... Opening line to a short story involving lazy debauchery, a girl called Mia, and the shadow of fascism before the war (any war).
@supadom said:
Hit the hi hat with less force and it will be quieter. That's actually one of the things mentioned in any info about this micing method is that the drummer must balance themself or it isn't appropriate.
I just watched an interesting tutorial by Kenny Gioia on groove 3 about drum recording on a budget, involving overheads and sample replacement. Although I prefer to get the right sound acoustically, sometimes samples are really a help for a certain sound (I just used drumagog a bunch on my latest mix, for the style song it was sample enhancement/ replacement is kind of unavoidable). Anyway, lots of ways to mic drums, but tuning and playing are much more important than any micing technique, that's for sure.
I love my boss GT-6, lots of great sounds and not just for guitar, my Korg M50 and the Mininova both benefit when I hook them up.
Yup on both points about the hihats.
I've also had really good luck putting two mics at about knee height about 8 feet in front if the drums, making a triangle with the center of the kick and then a single overhead (omni is best but anything will work). You won't get super articulated tom hits but you do get a big ass and surprisingly realistic drum sound. Obviously, play with distances from the kit as each room is different but make sure it's an equilateral triangle from the center of the kick.
You might also consider a mic with a super 8 pattern or a shotgun mic—those polar patterns can really help in drum mic'ing. Also great for recording vocals/acoustic guitar at the same time with some isolation because they both have really deep side rejection.